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M
ention Sigmund Freud
and there is a flurry of
associations: psycho-
analysis, libido, con-
scious and unconscious mind,
neuroses, ego and superego. But
mention his grandson, Lucian,
and suddenly there is silence.
While one man revolutionized
the perception of human behav-
ior by analyzing his patients as
they lay on a couch, the other has
observed his subjects as they
strike a pose and model. No
words. No analysis. Just imagery
that arguably penetrates the soul
as much as of the psychoanalyt-
ical mining of his grandfather.
What Sigmund has dissem-
bled, Lucian has tried to put to-
gether.
Grandfather worked from the
outside in, while grandson has
shown a perspective from the in-
side out.
A series of Lucian Freud etch-
ings at the Susan Hilberry
Gallery in Birmingham demon-
strates the artist's control of rep-
resenting the most ordinary
figures without a hint of senti-
mentality. Although Sigmund
Freud would likely be proud of
his grandson, he probably
couldn't refrain from asking,
"What does it really mean?"
The 72-year-old Lucian Freud
is "considered to be one of the 15
greatest figurative painters in the
world," according to Ms. Hilber-
ry, formerly an associate curator
•
at the Detroit Institute of Arts.
Mr. Freud's ability to capture
the unadorned moods of his
sometimes less-than-shapely
models, Ms. Hilberry said, puts
him in the class of painters such
as Rembrandt and Degas, and
predecessor to Francis Bacon, one
of the most widely acknowledged
portrait artists of the 20th cen-
tury. The striking difference be-
tween Mr. Freud's work and the
classic painters, however, is that
Mr. Freud's figures are unat-
tached to societal roles or mores.
"As far as I am concerned," Mr.
Freud told an art critique, "the
paint is the person. I want it to
work for me just as flesh does."
Mr. Freud's figures exist in the